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Centre Stage’s production of “Through the Night” runs you through an emotional wringer.

But you emerge feeling cleansed and renewed.

Daniel Beaty’s 2010 drama delves deeply into the urban black community and finds a host of struggles there — but also hope, aspiration and flashes of indomitable courage.

Told mostly in monologues, the poignant and often humorous “Through the Night,” part of Centre Stage’s Fringe Series, may seem preachy at times but it has all the soul-stirring electricity of a gospel revival.

It’s not a musical, though at least one character bursts into song and others occasionally soar in poetic meditations.

Beaty introduces several black men, all facing significant challenges — from sexuality to money problems to education and addiction.

Mr. Rogers fights a losing battle to run a health-food store in a neighborhood devoted, as he says, to “fast food, fried food and liquor.”

Isaac is a driven corporate executive distressed by a secret he can’t reveal.

A former junkie, Dre, wants to turn his life around as he awaits the birth of his baby.

Twon is a young man from the projects trying to overcome a school system that unfairly labeled him “slow” and a temptation that could keep him from his dream of attending college.

The Bishop, meanwhile, is a respected minister of a mega-church with a secret shame: an addiction to Ho Hos — which is cause for laughter until the Bishop ends up digging through a litter basket for a fix. Real addiction, Beaty suggests, is never funny.

Alan is a young gay man, angry that his partner won’t embrace his true self.

At the center of the story is Mr. Rogers’ 10-year-old son Eric, a precocious inventor trying to concoct a cure for everyone’s aching heart.

“Through the Night” features four female characters (played by two actresses) but the focus in mainly on the men and their troubles. Beaty portrays women as the real backbone of the black community. They, and the youthful characters Eric and Twon, are the most fearless and hopeful.

Most of the characters are brought together in the end by an incident that tugs mightily at the heartstrings, urging them to accept who they are and take their destiny in their hands.

The play spotlights several inspiring soliloquies that Beaty aptly calls “soul arias,” delivered with evangelical fervor. The dialogue, against jazzy background music, suddenly becomes metrical and rap-like, ascending to the spoken equivalent of impassioned high C’s.

Credit “Through the Night” also for one of the most incisive lines uttered this political season, a clarion call for adult responsibility: “Our children are watching.”

Beaty, an award-winning actor and playwright, originally performed the show as a solo work, impersonating all 11 characters, male and female. Centre Stage had the novel idea of breaking up the roles mostly into single parts.

Jordan Branham makes a big impression in a small role, playing Alan, the distraught lover of another character.

Jensine V. Reeder pours on the sass in a very funny short scene as an indignant mother who will move heaven and earth to help her son.

Kia Fisher Keyton is affecting as a young pregnant woman who’s sustained by unswerving faith.

This production of “Through the Night,” a dynamic addition to Black History Month, continues with performances on Feb. 2-3 and 9-10. Tickets are $10-$15. For tickets, call 864-233-6733 or see the website www.centrestage.org.

Theater-goers should note: The play is recommended for mature audiences only.

Following the Feb. 10 performance, I’ll moderate a Pizza With Paul talkback session with the director and actors. Free pizza and soft drinks will be available.

For the latest in local arts news and reviews, follow Paul Hyde on Facebook and Twitter: @PaulHyde7.